How to Play Drop 2 Chords for Jazz Guitar

Along with their closely related cousins the Drop 3 ChordsDrop 2 Chord Inversions are some of the most popular and commonly used voicings in jazz guitar.

They are easy to play, don’t require a lot of stretches, and because of their “jazzy” sound, they’ve become favorite comping and chord soloing tools for players such as Joe Pass, Ed Bickert, Wes Montgomery and George Benson.

In this lesson, you will learn how build, play and apply Drop 2 chords to common jazz harmonic situations as you bring these classic chords off the page and onto your fretboard.

To see and hear these chords in action, check out my “Drop 2 Chords Video Lessons” series on YouTube.

 

Don’t forget to download your FREE Jazz Guitar eBook!

 

What Are Drop 2 Chords

 

One of the biggest questions I get from students and readers about jazz guitar chords, is “How do you build a Drop 2 chord?”

The name Drop 2 comes from the fact that in order to build these chord shapes, you take a closed position chord, 1-3-5-7, and “drop” the 2nd note from the top down and octave, forming the interval pattern 5-1-3-7.

Here is how that looks like on the fretboard to help with visualizing this chord construction.

 

 

drop 2 chords 1

 

When you lower the 2nd note of any closed-position chord by an octave, you will then produce the following four interval patterns for each inversion.

 

  • Root Position – R-5-7-3
  • 1st Inversion – 3-7-R-5
  • 2nd Inversion – 5-R-3-7
  • 3rd Inversion – 7-3-5-R

 

Notice that the 3rd and 7th, as well as the root and 5th, are always next to each other in any inversion.

This can help you in visualizing the intervals within any Drop 2 chord shape you are learning or playing on the fretboard.

Lastly, this formula works for any chord type you can think of, you just have to alter the interval qualities to fit that chord type.

For example, a root position Drop 2 7th chord is built R-5-b7-3, a m7 chord would be R-5-b7-b3, etc.

The intervals change to match the chord you are playing, but the order of the intervals always remains the same.

To help you take these shapes from the page and onto the fretboard, let’s take a look at 12 different, 4 per string set, drop 2 chords for all of the common chord qualities used in jazz.

Each of these groups of Drop 2 chords is written with a C root, so make sure to move them to other keys around the fretboard as you explore these shapes further in your jazz guitar practice routine.

 

To explore these ideas further, check out my “Intro to Drop 2 Chords” lesson.

 

 

Drop 2 Maj7 Chords

 

To begin, here are 12 different Cmaj7 Drop 2 chords, which have the interval structure:

 

  • Root Position – R-5-7-3
  • 1st Inversion – 3-7-R-5
  • 2nd Inversion – 5-R-3-7
  • 3rd Inversion – 7-3-5-R

 

Here are four inversions of Cmaj7 on the lowest four strings of the guitar.

 

 

drop 2 chords maj7 1

 

You can now learn these chords on the middle four strings.

 

 

drop 2 chords maj7 2

 

Finally, you can play these chords on the top 4 strings of the fretboard.

 

 

drop 2 chords maj7 3

 

 

Drop 2 7th Chords

 

Here are 12 different C7 Drop 2 chords, which have the interval structure:

 

  • Root Position – R-5-b7-3
  • 1st Inversion – 3-b7-R-5
  • 2nd Inversion – 5-R-3-b7
  • 3rd Inversion – b7-3-5-R

 

Here are four inversions of C7 on the lowest four strings of the guitar.

 

 

drop 2 chords 7 1

 

You can now learn these chords on the middle four strings.

 

 

drop 2 chords 7 2

 

Finally, you can play these chords on the top 4 strings of the fretboard.

 

drop 2 chords 7 3

 

 

Drop 2 m7 Chords

 

Here are 12 different Cm7 Drop 2 chords, which have the interval structure:

 

  • Root Position – R-5-b7-b3
  • 1st Inversion – b3-b7-R-5
  • 2nd Inversion – 5-R-b3-b7
  • 3rd Inversion – b7-b3-5-R

 

Here are four inversions of Cm7 on the lowest four strings of the guitar.

 

 

drop 2 chords m7 1

 

You can now learn these chords on the middle four strings.

 

 

drop 2 chords m7 2

 

Finally, you can play these chords on the top 4 strings of the fretboard.

 

 

drop 2 chords m7 3

 

 

Drop 2 m7b5 Chords

 

Here are 12 different Cm7b5 Drop 2 chords, which have the interval structure:

 

  • Root Position – R-b5-b7-b3
  • 1st Inversion – b3-b7-R-b5
  • 2nd Inversion – b5-R-b3-b7
  • 3rd Inversion – b7-b3-b5-R

 

Here are four inversions of Cm7b5 on the lowest four strings of the guitar.

 

 

drop 2 chords m7b5 1

 

 

You can now learn these chords on the middle four strings.

 

 

drop 2 chords m7b5 2

 

Finally, you can play these chords on the top 4 strings of the fretboard.

 

drop 2 chords m7b5 3

 

 

Drop 2 dim7 Chords

 

Here are 12 different Cdim7 Drop 2 chords, which have the interval structure:

 

  • Root Position – R-b5-bb7-b3
  • 1st Inversion – b3-bb7-R-b5
  • 2nd Inversion – b5-R-b3-bb7
  • 3rd Inversion – bb7-b3-b5-R

 

Here are four inversions of Cdim7 on the lowest four strings of the guitar.

 

 

drop 2 chords dim7 1

 

You can now learn these chords on the middle four strings.

 

drop 2 chords dim7 2

 

Finally, you can play these chords on the top 4 strings of the fretboard.

 

 

drop 2 chords dim7 3

 

 

Drop 2 mMaj7 Chords

 

Here are 12 different CmMaj7 Drop 2 chords, which have the interval structure:

 

  • Root Position – R-5-7-b3
  • 1st Inversion – b3-7-R-5
  • 2nd Inversion – 5-R-b3-7
  • 3rd Inversion – 7-b3-5-R

 

Here are four inversions of CmMaj7 on the lowest four strings of the guitar.

 

drop 2 chords mMaj7 1

You can now learn these chords on the middle four strings.

 

 

drop 2 chords mMaj7 2

 

Finally, you can play these chords on the top 4 strings of the fretboard.

 

drop 2 chords mMaj7 3

 

 

Drop 2 7#11 Chords

 

Here are 12 different C7#11 Drop 2 chords, which have the interval structure:

 

  • Root Position – R-#11-b7-3
  • 1st Inversion – 3-b7-R-#11
  • 2nd Inversion – #11-R-3-b7
  • 3rd Inversion – b7-3-#11-R

 

Here are four inversions of C7#11 on the lowest four strings of the guitar.

 

drop 2 chords 7#11 1

 

You can now learn these chords on the middle four strings.

 

drop 2 chords 7#11 2

 

Finally, you can play these chords on the top 4 strings of the fretboard.

 

drop 2 chords 7#11 3

 

 

Drop 2 Maj7#11 Chords

 

Here are 12 different Cmaj7#11 Drop 2 chords, which have the interval structure:

 

  • Root Position – R-#11-7-3
  • 1st Inversion – 3-7-R-#11
  • 2nd Inversion – #11-R-3-7
  • 3rd Inversion – 7-3-#11-R

 

Here are four inversions of Cmaj7#11 on the lowest four strings of the guitar.

 

drop 2 chords maj7#11 1

 

You can now learn these chords on the middle four strings.

 

drop 2 chords maj7#11 2

Finally, you can play these chords on the top 4 strings of the fretboard.

 

drop 2 chords maj7#11 3

 

 

Drop 2 Chord Exercise 1 – Qualities

 

The first exercise you can use to internalize Drop 2 chords is based on finding chords that are only one note different from other shapes, and then moving between these chords on the fretboard.

Here is a favorite example of this exercise that covers 5 different chord types in one exercise.

Try playing these chords using Drop 2 shapes in C, before moving them to other keys on the fretboard.

As well, you can use any string set, and any inversion, to outline these shapes, just stick to the same one for each time through the exercise.

So, if you play the first Cmaj7 chord as a 1st inversion on the middle four strings, keep that same outline as you then move to the other chords in the exercise, meaning you play every chord as a 1st inversion on the middle four strings.

 

drop 2 chords exercise 1

 

Here is another progression that I like to use where the second chord is built by altering one note from the first chord shape.

 

 

drop 2 chords exercise 1.2

 

Lastly, here is another chord progression you can use to learn and memorize various types of Drop 2 chords in the practice room.

 

 

drop 2 chords exercise 1.3

 

 

Once you have worked through these three progressions in various keys and in all inversions on different string sets, try coming up with your own progressions to work Drop 2 chords in the woodshed.

 

 

Drop 2 Chord Exercise 2 – Major ii V I VI Chords

 

This exercise brings a practical application of Drop 2 chords to your practice routine, as you outline major key ii V I VI changes using Drop 2 voice leading.

When doing so, you being on any iim7 Drop 2 chord, such as the root position in the example below, and then move to the closest V7 chord, Imaj7 and VI7b9 chord in that area of the fretboard.

Here is how that looks on the neck of the guitar.

 

drop 2 chords exercise 2

 

When doing so, you will always use the following inversions for each chord.

 

  • R-2nd-R-1st
  • 1st-3rd-1st-2nd
  • 2nd-R-2nd-3rd
  • 3rd-1st-3rd-R

 

This order of inversions is the same for major and minor ii V I vi progressions, and so it’s worth memorizing as you take this exercise further in the woodshed.

Once you have worked out the example above, try moving to the other inversions of Dm7 on the top-4 strings and voice leading the chords from there through the progression.

Then, move on to different keys on that string set, and onto other string sets before applying these shapes to a full tune in your studies.

 

For more info on playing these exercises, check out my “Drop 2 Chords Turnarounds 1,” “Drop 2 Chords Turnarounds 2,” and “Intro to Drop 2 Chord Turnarounds” lessons.

 

 

Drop 2 Chord Exercise 3 – Minor ii V I VI Chords

 

You can then repeat the previous exercise with minor key ii V I vi chords, as you can see in the following example.

 

 

drop 2 chords exercise 3

 

 

Again, once you have these shapes down in various keys and on a few string sets, try taking them to a tune such as Autumn Leaves, which has both major and minor ii V I changes in order to hear and see how these chords apply to a musical situation.

 

For more exercises visit my “5 Easy Drop 2 Chord Exercises” lesson.

 

Do you have a question or comment about Drop 2 chords? Share your thoughts in the comments section below.



58 Comments

  1. Badge, June 27, 2011:

    Hi matt. These are great. Have you thought about including a PDF link to to the chord charts so it is ‘printer friendly’? That would be great!

  2. Matt Warnock, June 27, 2011:

    Badge, I have a series of snooks coming out, in PDF form, that will have all of this info nd much more, stay tuned for the launch dates!

  3. richard v, August 14, 2011:

    matt i am a little confused on the drop 2 chords. how do i know which note is the name of the chords- by reading the top note???? of each example.?

  4. Matt Warnock, August 14, 2011:

    Hey Richard,
    Here is where the root is for each chord.

    Root Position = Root is lowest note

    1st Inversion = Root is 3rd note

    2nd Inversion = Root is 2nd note

    3rd Inversion = Root is 4th note

    Hope that helps!

  5. Michael Kapp, September 8, 2011:

    Thank you Matt!

  6. Matt Warnock, September 8, 2011:

    No problem Michael!

  7. Theo, December 5, 2011:

    So ALL of these chords are C and the given quality?

  8. Matt Warnock, December 5, 2011:

    Yes all of these examples are in the key of C, root C, then the quality of each chord.

  9. Alex, December 20, 2011:

    Matt, the light finally came on. I have been struggling trying to understand inversions and not making any progress. Finally after studying the Drop 2 section it has become clear. It is all about the order. I knew for the first inversion that the 3rd becomes the bass note; however i never knew that it is followed by the 7th, Root, and then 5th. I kept trying to keep the orginal order of the chord i.e. R, 3rd, 5th, 7th even for inversions. Thanks for all the great information on your site.

  10. Matt Warnock, December 20, 2011:

    Very cool Alex, you got it!.

    R 5 7 3

    3 7 R 5

    5 R 3 7

    7 3 5 R

    So the R and 5 are always together and the 3 and 7 are always together, so that helps me think of each inversion as well.

  11. Ivan Osborne, December 22, 2011:

    Maybe I’m missing something, (a grey cell perhaps), I’m trying to apply logic but the maj7 examples with “B” in the form, these are 9ths?

  12. Matt Warnock, December 22, 2011:

    Hey Ivan, the B is actually the major 7th interval.

    C = Root
    E = Third
    G = Fifth
    B = Seventh

    That’s it, no ninth in that chord. Thanks for checking out the site!

  13. richard, December 26, 2011:

    mi matt- haveing a problem with terminology/ i see what you are doing w.notes but have a problem distinguishing a drop chord from an inversion. can you straighten me out???

  14. Matt Warnock, December 26, 2011:

    Hey Richard,
    No worries, a Drop 2 chord is the name of a chord shape on the guitar, so

    R – 5 – 7 – 3 interval structure.

    Then, an inversion is just taking each of these notes and moving them to the next note in the chord.

    R becomes 3

    5 becomes 7

    7 becomes R

    3 becomes 5

    So the Root position of a Drop 2 chord is:

    R 5 7 3

    and the first inversion is

    3 7 R 5

    I hope that makes sense

  15. Ammo, January 1, 2012:

    Interesting it’s called “Drop” 2 when in fact the second note of the chord is raised an octave. Now THAT would make sense (2nd inversion, standard -close- position is 5-7-R-3 but in Drop2, is 5-R-3-7).
    Thank you for publishing this; I have been puzzling over it for a long time.

  16. Matt Warnock, January 1, 2012:

    Glad you dug it Ammo. That’s how I learned to think about then, raising the second note up an octave. But there is another way to think of it as well. Take a closed position chord, CEGB, the lower the second note from the top, G, an octave and you get GCEB, a drop 2 chord. Either way of thinking works, I like the first way like you mentioned, but other people like the second way. Whatever works!

  17. Ammo, January 1, 2012:

    Oh! Also, you might explain that there are 3 fingerings for Drop2 voicings, because they are adjacent strings (6-5-4-3; 5-4-3-2; and 4-3-2-1. The Drop2 and Drop2&4 voicings have only 2 possible fingerings.
    It wasn’t until I went through the exercises that I realized you were providing ALL those fingerings.
    Thanks again.
    I intend to build a chord diagram library in Finale using these fingerings.

  18. Ammo, January 13, 2012:

    Hi Matt, I would like to rename the inversions. According to Wikipedia, under “Block chords”, Drop 2 – the second voice from the top is transposed one octave lower. This is what you say in your previous reply, but it is inconsistent with your naming.
    Root position, 1 3 5 7, becomes 5 1 3 7.
    1st inversion, 3 5 7 1, becomes 7 3 5 1.
    2nd inversion, 5 7 1 3, becomes 1 5 7 3.
    3rd inversion, 7 1 3 5, becomes 3 7 1 5.
    I had analyzed the chords from the way you named them, and mistakenly concluded the rule was to raise the second voice from the bottom by an octave.

  19. Matthew Warnock, January 13, 2012:

    Yeah, I have pages on Drop 3 and Drop 2 and 4 chords as well, so I just focused on the Drop 2 chords on this page. There are three string sets for drop 2, as you said, in the notation above, and on the drop 3 and drop 2 and 4 pages I wrote out the two string groups, 6th string and 5th string roots. Though when I play these chords, I usually use Drop 3 chords when I want a 6th string root, or sometimes a drop 2 and 4, I rarely play drop 2 chords on the 6th string root, just because I find the sound muddy, but if you have a brighter sounding guitar/amp you can use those chord shapes as well.

  20. Matthew Warnock, January 13, 2012:

    Yeah, I wouldn’t rename the inversions, only because Drop 2 does come from closed position, like you said, but they are their own entity. So, it might be confusing to relate the two, as far as the names of inversions are concerned. If you did that, then 5-R-3-7 would be the Root position of a drop 2 chord, since it is built from the root position of the closed position chord. But that’s kind of confusing, since the root is not in the bass. So I would stick to calling R-5-7-3 the root position of a drop 2 chord, and working the inversions up from there. It’s just common practice to call the chord root position when it has the root in the bass. That’s all.

  21. Henrique, April 5, 2012:

    Hello Matt, I’m studying voicings (drop 2) right now and I can’t understand one thing, so here’s my doubt:

    Let me explain:

    When we have the inversions, we have:

    Root position – 1357
    1st inversion – 3571
    2nd inversion – 5713
    3rd inversion – 7135

    and then, when we’re working with drop 2, we have

    Root position – 5137
    1st inversion – 7351
    2nd inversion – 1573
    3rd inversion – 3715

    , because we transpose the second highest note from the top one octave lower, right??

    What I can’t understand is why you refer to the drop 2 chords, for example, in root position, 1573. ??? The correct form for drop 2 chords in root position is 5137, right?? So, why do you say that it is 1573?? I’ve understood all about this topic but I can’t clear my mind…

    I’m not English, I’m portuguese, so I’d be delighted if you could explain it to me in a lighter language, like, in a simple way, for me to understand it better.

    Waiting for your answer, THANK YOU VERY MUCH.

    Henrique

  22. Matthew Warnock, April 5, 2012:

    Oi Henrique,
    Eu acho que de “Drop 2″ acordes como uma forma na guitarra. Por isso eu continuo a Root como a nota mais baixa para a primeira posição. Todas as outras formas na guitarra tem a tônica como a nota mais baixa na posição de Root, e assim eu faço o mesmo para “drop 2.” O que você disse é correto, mas acho que funciona melhor para arranjar, mas na guitarra é mais prático para ver a Root como a nota mais baixa desde que é como vemos todos os outros acordes como “Drop 3.” Espero que ajude. ambos são boas abordagens, mas acho que este apenas se encaixa melhor na guitarra. Abraços

    Hi Henrique,
    I think of ‘Drop 2″ chords as a shape on the guitar. Therefore I keep the root as the lowest note for the first position. All of the other shapes on the guitar have the tonic as the lowest note in root position, and so I do the same for “Drop 2.” What you said is correct, but I think that works better for arranging, but on the guitar it is more practical to see the root as the lowest note since that is how we see all of the other chords like “Drop 3.” I hope that helps. They are both good approaches, but I think that this one just fits better on the guitar. Hugs

  23. bebop disciple, April 19, 2012:

    Hi matt
    I’ve known about the inversion however not in the drop 2 form,my issue is coming up with a proper practice routine,hand stamina exercise and improvisation,I’m not into playing fast however I’d love to pick up some pace.

  24. Matthew Warnock, April 19, 2012:

    for sure, practicing these chords can be tough at first. Here is an article that might help you, I’m also doing a series on how to practice these chords coming up next month that you might like.

    http://mattwarnockguitar.com/drop-2-chords-for-jazz-guitar

  25. Mark, May 31, 2012:

    What are snooks?

  26. Matthew Warnock, May 31, 2012:

    Mark, they are books when I type too fast and hit the wrong keys :)

  27. Mark, May 31, 2012:

    Got it, thanks! Absolutely love the site! Thank you so much for sharing your knowledge freely with the world.

  28. Matthew Warnock, May 31, 2012:

    No problem thanks for checking out my site, much appreciated!

  29. ColinO, June 28, 2012:

    Great stuff Matt. Thank you for all the work.

    Are there drop 2 voicings for extensions as well that are helpful – ie 9, #9, b9, 11, etc? And if so, at the risk of asking too much, do you have charts for those as well?

    Thanks.

  30. Matthew Warnock, June 28, 2012:

    Hey,

    I usually use other chords, rootless voicings, instead of Drop 2 13th chords etc.

    So for a D13 chord I would play F#m11b5 instead, or for D9 I would play F#m7b5 instead.

    you can see more of that kind of playing in this article.

    http://mattwarnockguitar.com/increase-your-jazz-guitar-chord-vocabulary-300-with-ted-greene-chord-synonyms

  31. James Malone, August 2, 2012:

    Hey Matt. If I were to add extensions to a drop two how would I voice the chord and it’s extensions? For example, would a root position minor nine be R-5th-7th-3rd-9th? Thanks.

  32. James Malone, August 2, 2012:

    Sorry, I should’ve read the above comment!

  33. James Malone, August 2, 2012:

    Okay, a better question: Can I use these chords when playing with a bass player, pianist or both?

  34. Matthew Warnock, August 2, 2012:

    Yeah you can use these with all of those instruments, I would just watch the 6th string roots with a bass player as it might be too muddy, but the middle and top 4 string groups will work great.

  35. crimson, December 4, 2012:

    Should we just memorize drop 2 inversion and leave the normal inversion aside so as not to confuse us?

  36. Matthew Warnock, December 4, 2012:

    I would say start with Drop 2 and Drop 3 chords first then go from there.

  37. Steven Weiss, April 17, 2013:

    Hi Matt,

    Thanks for the great lessons. I just started practicing drop 2 and 3 voicings, and I do the two methods you recommended: horizontal and vertical. But there is a third way to practice them that I think is the most beneficial.

    I choose one root note and then play all qualities around that one note. So for example, if I’m playing a C on the 8th fret of the 6th string, I’ll play major 7, dominant 7, minor 7, minor major 7, half diminished 7, diminished 7, and even major augmented 7 and augmented 7. I do this for drop 2 and 3 voicings, and then do the same for different inversions. Doing this systematically allows me to see where each chord tone is, and how changing each note changes the quality of the chord.

    Is there anything you would add to this third method?

    Thanks a heap,
    Steven

  38. Matt Warnock, April 17, 2013:

    Hey Steven, glad you are digging these chords and the lessons. I agree with the 3rd way, it’s something that I teach as well, and use it for learning arpeggios in one position as well as any chord. The other thing you could do is run a whole tune in one position, using all different inversions to keep your hand within say 4 frets as you comp through a whole tune. Great way to work on tunes and learn chords at the same time.

  39. Steven Weiss, April 17, 2013:

    Thanks Matt!

    Great advice. I often stumble when trying to think of ways to take technical practice into tunes. Any suggestions on some first standards to try this with?

    Steven

  40. Matt Warnock, April 17, 2013:

    Hey, try Summertime, the blues in any key, take the a train and satin doll to start. Great tunes for this stuff.

  41. Pete, June 24, 2013:

    Matt –

    You are a true saint for providing this remarkable material to the public. The work and care you have put into this is astounding. This world would be a much different place if everyone had a heart like yours. You know…..the governing law of the universe is that people reap what they sow – so I can assure you that you will reap great things…. either in this life or the next.

    Thank you.

    Pete

  42. Pierre, August 18, 2013:

    Hi Matt.
    Thank You for the vast array of support for your teaching. Its a very impressive.
    I am a beginner, and i cant seem to find the TABS for the fingering positions of chords for the videos you are showing for the Drop 2 Inversion.
    Please advise options?????

    Thanks Pierre

  43. Matt Warnock, August 18, 2013:

    Thanks Pierre, glad you dig the site. All of the tabs for the Drop 2 chords from those videos are right on this page, you can see them right next to each video. Cheers.

  44. Jean, August 6, 2014:

    Hello, dear instructor!
    I used to come here before and practice the inversions, and they were written on palettes (fingerings on guitar neck), but now everything is changed and they are written as music notation and tabs! Where can I find the previous page? Please, I learn much better and easier with palettes than tabs. Jean

  45. Matt Warnock, August 6, 2014:

    Hi Jean. I am slowly working my new site design right now. Some of the articles will take a few days to be updated, so those grids will be back shortly.

  46. Jean, August 6, 2014:

    Thank you ever so kindly, sir!
    I can’t wait!
    Your hard work is highly appreciated, and you have mine, and I am sure all the users of these resource’s utmost respect and gratitude.

    Jean

  47. Pete Jinks, August 14, 2014:

    Hi Matt, I’ve just discovered your helpful site and may be able to shed some light on the confusion in earlier comments around inversions and octaves in regard to the title “Drop 2″. I believe this needs to be thought of in relation to a sequence of all the consecutive chord tones, then two of them are “dropped” (i.e. not used in creating the chord). This would tie in with early jazz theory and how it broke away from classical music’s strict harmonic sensitivities. Rimsky-Korsakov was absolutely clear that, when orchestrating, a chord must contain all its notes in sequence (even if distributed between different instruments), so to drop two would be very jazz to early theorists.

  48. Jean, August 20, 2014:

    The palettes please (the grids). When are they coming back?
    Best Regards

    Jean

  49. Matt Warnock, August 20, 2014:

    Hi Jean, those files were actually lost in the transfer, so I wil have to redo them. I am actually planning on redoing all of my scale/arp/chord pages, so will be doing that sometime later this year/early next year. They will have much more detail, grids, audio, and practical examples. So much improved.

  50. Matt Warnock, August 21, 2014:

    Hi Jean, I’ve updated the chords again for this article, going to do the rest in the next day or so. Cheers.

  51. Jean, August 21, 2014:

    I don’t know how to thank you, dear instructor!
    You are very attentive to our needs, your true disciples!

    You really should consider accepting support! When you attend to our needs so quickly, we feel the need to give back! I mean, what do you have to lose?

    Anyway, you are very kind, I am grateful, and I thank you.

    Jean

  52. Matt Warnock, August 21, 2014:

    No problem Jean. If you want to donate something just buy an ebook. That way you can give to the site if you want and you get a jazz book as well!

    http://mattwarnockguitar.com/ebooks

  53. TP, October 8, 2014:

    Hello Matt, have you came out with a PDF format for these Drop 2 chords, where can I find them?

  54. Matt Warnock, October 8, 2014:

    Hey TP, no PDF yet but am thinking of putting one together for Drop 2, Drop 3 and Drop 2 and 4 chords all in one place. If that happens I’ll post it here.

  55. ThatsEarlBrother, October 19, 2014:

    The art of teaching makes these lessons Great!!!

  56. MikeR, October 24, 2014:

    Hi Matt, great lesson page! I am practicing your ii v I iv exercise and have a question about the last progression-3rd-2nd-3rd-R. In terms of keeping the chords closely positioned it seems to me that 3rd-1sr-3rd-R works a bit better…Or am I missing something here? Thanks for any feedback…

  57. Matt Warnock, October 25, 2014:

    Hey Mike, just a typo, got it fixed up. Cheers.

  58. MikeR, October 25, 2014:

    Many thanks Matt! I appreciate that, thanks for responding here. Again, great lesson page here.

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